Se acabó el petróleo

The story of two young friends, a lawyer, a rich man and a group of kidnappers end up in a series of strange circumstances all to discover; Who Killed Bambi?

Rafael, a Seville citizen who has never left the Spanish region of Andalucia, decides to leave his homeland to follow Amaia, a Basque girl unlike other women he has known.

German people having trouble with love and identity.

After dumping a bucket of water on a beautiful young woman from the window of a train car, wealthy Frenchman Mathieu, regales his fellow passengers with the story of the dysfunctional relationship between himself and the young woman in question, a fiery 19-year-old flamenco dancer named Conchita. What follows is a tale of cruelty, depravity and lies -- the very building blocks of love.

Pleno al quince

Los alegres bribones

Miguel is in love with Rosa, a special woman. The relationship did not work at all and decide to break. Rosa then falls for a Sevillian painter who has returned after forty years of exile.

Not Funny

José has spent the last 8 years preparing the exams to become a civil servant in Spain. After his tests, he celebrates with friends and family, only to receive the news that he did not actually secure a place.

The film is a television program from a Ugandan satellite in orbit overlooking the decrepit blue planet, where only Seville has been saved. The report we see is made of it, showing it as a world model of a city to be imitated.

Amaia after breaking up with Rafa, falls in love with a Catalonian. Koldo, her father, goes to Sevilla to persuade Rafa to go to Catalonia and take Amaia's heart back.

In the sequel to 'The world is ours', 'The world is yours' we have Alfonso Sánchez and Alberto López playing 'Los compadres', men from Seville with a good economic position. Using satire, the two Andalusian comedians caricature these two new characters, through pride and lack of culture, and make comments about the situation of men, women and the differences that Spain has with the rest of the world. Now, with 40 years on, they pose the following situation: you are a man of forty years who laughs at life, without really having a hard because everything you have had you squandered. The vision of the prototypical, casposa and sister in law of Spain.

Tano is 16-years-old and is already sitting in jail. In 48 hours he’s a free man and off to the wedding of his brother. In the two days he recounts his neighborhood in a section of Sevilla.

Following a commission from the College of Architects of Seville, for the production of a documentary about the La Alameda de Hércules area of the Sevillian capital in a debate about its possible destiny and urban planning challenges, the filmmaker Juan Sebastián Bollaín, offers this visionary realistic and critical, at the same time experimental and iconoclastic, portrait of the problem of the transformation of historic centers in our cities.

Miguel is a movie buff who is dedicated to filming Paula, a classmate with whom he is in love. Maria, his sister, is his great confidant. Both will exchange secrets that will change Miguel's life.

Pablo is a young man who unconsciously seeks a special connection with a girl. An unexpected call could change everything.

Simón is an aspiring novelist who makes a living designing crossword puzzles for a newspaper. One day he receives a threatening message instructing him to include the word "adversary" in a puzzle as Seville gets hit by a series of violent attacks.

Angel, a young intelligent and kind, aims to be a police inspector. Rafael instead is an expeditious, forceful and arrogant policeman. Meanwhile, Miguel and Mateo are part of Group 7, a group of rogue cops ready to do anything to achieve their goals.

"Nueve Sevillas" is a heterodox psycho-geographical profile of the new flamenco in Seville. Nine characters coexist with the great flamenco artists of today.

Religious-based images and traditions permeate the lives of all the people who inhabit Seville. Historically, the city's mariquitas ("sissies") have also assimilated them in their childhood and, through them, have been creating their own encounter spaces and their own codes. Nowadays, new dissident identities continue to respond to them: they participate or distance themselves, they continue what exists or transform it. This film looks at these traditions from a perspective always relegated to the margins.